Paris Fashion Week F/W ’19 Accessory Trend Spotlight

By Paige McKirahan 

 

Some tend to say that the best is saved for last, and this fashion month this statement may have held true when Paris Fashion Week closed our couture-filled thirty days of fun. PFW, which ran from February 25 and March 5^th, is one of the longest running international fashion weeks that is commonly crowed the chicest of the bunch. As the original fashion capital of the world, the expectations in Paris were high but fortunately, the couture was higher. Gucci, Burberry, and Chanel are just a few of the high-profile names that stunned crowds as Karl Lagerfeld’s heavenly final designs made their way down the runway draping his various muses including Cara Delevingne and Penelope Cruz.

 

Final walk, Chanel F/W 2019 (source)

As we have come to realize this fashion month, high-profile headwear is at the helm of fall’s trendiest accessories in London, Milan, New York, and now Paris. Loewe nodded to classic constructions when they created their helmet style headwear featuring fin-like protrusions both above the ears and on the top of the design. Dior took note of Tom Ford’s NYFW bucket hat revival, spinning the desire to feature animal print complete with netting around the bill. We saw structured hats add inches to feet in height from Chanel, Ann Demeulemeester, and Nina Ricci that stunned with their glamorous color palettes. We also saw a boom in the hair accessory world with barrettes and headbands once again taking reign; Balmain hit the nail on the head with their chain link headband made complete a chic aesthetic to die for.

From top: Loewe, Nina Ricci, and Balmain (source)

Eyewear took on classic silhouettes with large lenses officially taking the frame-style crown back from last season’s tiny specks. Stella McCartney and Loewe’s designs had an intergalactic flair, while Celine and Chloe exhibited their love for vintage trends with their ‘70s inspired looks.

 

From top: Loewe and Chloe (source)

The jewelry displayed in Paris may be the most visually enthralling of all work throughout fashion month; their various structures and use of art styles directly in their designs stole the spotlight when they stepped onto the runway. We saw Isabel Marant take their shot at the single earring trend, creating a silver cuff with a whimsical aesthetic. Givenchy took the classic dangling earring style and implemented it into their ring designs, with tassels falling from a ring-bracelet hybrid. PFW gave us great stacking looks with everything from earrings to bangles as labels like Alexander McQueen loaded up their models with accessories that proved too much may never be enough. Lastly, the Y/Project may have had the most startling jewelry designs of all collections; with metal spirals to Greek-like sculptures incorporated into their work, they established their designs as artwork in their own right.

 

From top: Givenchy, Isabel Marant, and Y/Project (source)

Statement bags and belts also dominated the runway this fashion month, especially in this industry capital. In terms of silhouettes, it seems that thick, waist belts will be the “it” style this coming fall; both Chloe and Isabel Marant took this oversized look and combined it with last season western appeal to create beautiful, contemporary pieces perfect for cold weather looks. Off-White got in on the Parisian belt action with their classic clean-line design finished off with text saying “Off-White ‘LOGO’” replacing the traditional buckle. Givenchy combined the idea of the “it” belt and bag into a simple, utilitarian design perfect for those fashionistas on the go.

 

From top: Chloe, Off-White, and Givenchy (source)

As we have now seen on runways around the globe, the idea of what is "in" when it comes to handbags is shifting. This runway season, the ornamental styles of SS ’19 are out, and small-scale silhouettes are in.  From casual totes to wallet style designs, all collections had something stunning to offer. Rochas and Altuzarra created cinched bucket bags that are sure to be on everyone's must-have list. Givenchy and Stella McCartney took on an iPhone sized contemporary approach, while other brands like Chanel reinvented the fanny pack. One of the most talked about bags of the week, though, could barely hold your pocket change; these micro bags from Jacquemus have been making headlines from the moment they made their way into Paris!

From top: Givenchy, Chanel, and Jacquemas  (source)

With this, we now conclude the coverage of our favorite month in fashion! Which week was your favorite? We loved the looks in London and Paris! Check out our coverage of New York, London, and Milan and be sure to stay tuned for more fun fashion finds for this upcoming spring season!

Sources:

The Steampunk Movement: Modern, Industrial, and Accessory Filled

By Paige McKirahan

When thinking of ways to accessorize a steampunk look, you first want consider what the term means in order to understand this wild aesthetic as a whole. In short, it is a movement inspired by Victorian England, American’s wild West, and the Industrial Revolution that reimagines modern technologies as more elaborate, creative pieces of fashion, art, and mechanics. Essentially, it puts a classic twist on modern style, combining pieces from previous centuries with industrial motifs. This style of art and dress did not come into circulation until the late ’80s, and it has only grown in popularity since; its presence in literature pushed the movement in to the public eye and from that point, it gained momentum in fashion, film, and music. Now it is more than just a part of science fiction as its fun, DIY characteristics have spread into popular culture. Every good pop culture movement has standout accessories, so read on to see a few of our favorite steampunk pieces and motifs!

 

Walking Cane 

Back in a time when canes were less utilitarian, they were typically an indication of the owner’s wealth and overall status. For a period spanning over three centuries, they were an essential part of the wardrobe and it was likely that cane users possessed a variety of canes to be used in a multitude of social settings. Their general use has roots in the male psyche where wielding a stick equates to power. Just think back to classic literature; Black Rod carried a actual rod, Merlin carried a wand, and Moses used a staff to part the sea. When they were introduced in the 1650s, they were considered exotic as they were made with foreign materials like ivory and Malacca wood. As time progressed towards the Victorian age and the Industrial revolution, the middle class became increasingly wealthy and used canes to illustrate that wealth in grandeur. This popular use continued until about the 1940s when everyone almost simultaneously seemed to lay their canes down in pursuit of more simplified accessories. They were mostly used as a walking aid until the steampunk movement picked them up again, giving their gear-oriented ensembles an added level of class! 

Cufflinks

Though it seems like cufflinks may account for just a small part of an outfit, their aesthetic value and ability to redefine your entire look is what makes them one of the most important accessories of all. The small but mighty accent piece began appearing in the early 1500s when men began using strings to tie their ruffled wristbands together. This continued until the Industrial Revolution, when chains and strings were replaced with rods and clips to closer resemble the modern cufflink of today. Despite the fact that shirt makers have now began to put buttons on sleeves to decrease the need for cufflinks, they are still seen as a luxury item and give one the opportunity to make their clothing truly their own. They give steampunk lovers a great way to incorporate industrial motifs into their elaborate outfits, tying together their retro-modern looks.

Pocket Watches

Abiding by the steampunk ideals of functionality, creativity, and retro aesthetics, pocket watches capture the essence of the movement with their gear-oriented appearances and chain accents. Originating in around the 16^th century, the widespread use of the pocket watch began with the rise of railroading; keeping precise time was crucial for railroad guards and this importance was so prominent that Levi Strauss designed his jeans with a tiny front pocket made exclusively for holding the accessory! Many steampunk aficionados prefer the open face style of watch, which allows the wearer to display the inner workings of the piece. The best watches to invest in are said to be made by Rolex, Movado, Omega, IWC, ad Patek Philipe and are brands coveted by steampunk fashionistas.

Hand Fan 

Though the hand fan was widely popular in Victorian Eras as a foreign symbol of wealth and class, their origin lies centuries prior in ancient Egypt, Greece, and Rome. The piece, which was originally thought be a sacred instrument, was used in religious ceremonies and by royalty. They were also used in China in association with ancient mythical and historical characters. At their conception, they were fixed and remained as so until Chinese culture birthed the folding fan and spread it westward towards Europe. The 17^th century then saw an increased use of folding fan, eventually causing fixed fans to become obsolete. They generally featured prints of all kinds, either painted or transferred on, and shifted from biblical tradition to contemporary pastimes. The Impressionist, Art Nouveau, and Art Deco movements highly impacted the design and construction of fans from the 19^th to the 20^th century and today, the steampunk movement has taken hold of the accessory to complement their Victorian aesthetic.

 

Gloves

Similar to the hand fan, gloves found their origins in ancient culture; throughout history, they have been used for both utilitarian and decorative purposes beginning in Greece, China, and Egypt. They did not come into widespread circulation until the 11^th century when they finally reached Britain after their conception 100 years prior. Originally, they were confined to soldiers in warfare and their use as a fashion accessory did not commence until the 17^th century when style and status-oriented interests surrounding gloves began. Both genders were involved in this practice until the 18^th century, when their importance in men’s wardrobes dwindled. With the 19^th century, though, their popularity burst for both men and women when social codes developed that called for gloves in public settings. If you were seen out gloveless or were wearing soiled pieces, you would be the target for ridicule and face accusations of poor etiquette. The 20^th century saw another shift in use of gloves as the World Wars’ rationing of materials and standardization of design proved highly fashionable gloves to be unnecessary. We saw a brief revival in the 1950s, but it quickly fizzled out by the end of the preceding decade. Steampunk fans love to use gloves in their ensembles, giving their looks a vintage flair with fingerless, lace pieces holding precedence.

 

Face Masks 

Steampunk face masks are very reminiscent of thoses seen at a masked ball, but more industrial in appearance. Many of them feature clock and gear motifs and are typically gold, silver, or black in color. Their style may vary, and their steampunk-ehtusiats wearers use them to tie together their entire outfit and overall personality. The gas mask is a popular style, emulating Victorian London where fumes and smoke were a part of daily life. The masquerade mask starkly contrasts the gas mask aesthetic as it is more fancy and associated with dancing at a grand ball. Eye patches are a viable option and gives wearers the opportunity to play with their story; maybe they are hiding a mechanical eye or some other industrial creation beneath the covering. The plague doctor mask may be the most startling in appearance, with inspiration coming from iconic plague masks used in the 17^th and 18^th centuries. The accessories were worn by doctors and scientists and are commonly known as bird masks because of their long, beaklike nose piece.

Pocket Knives 

The pocket knife has been in use for centuries from the Roman empire to the Viking era. In the 1600s, they began to become more affordable, widely distributed, and mass produced. Many different styles of knives began being designed for a multitude of purposes ranging from hunting to camping. The simple, folding pocket knife is the most popular in steampunk fashion and they are typically bronze or gold in color with gears featured throughout the piece.

Though these pieces are just the tip of the iceberg when it comes to steampunk accessories, we feel like these are major fashion components than can be seen in any steampunk lovers closet. Octopus, spider, skeleton, camo, playing card motifs are also commonly featured in this movement’s fashions with bronze and leather colorings. If you’re trying to prepare a steampunk look for this upcoming Halloween or an impending convention, we’ve got you covered! Click on any of the photos in this post or search our collection for steampunk inspired pieces that are sure to make you feel industrial chic!

 

NYFW Spotlight: Christian Siriano’s Hawaiian Chic

By Paige McKirahan

Hello again, fashion lovers! For our next NYFW spotlight, we decided to take a look into the vibrant and tropical collection designed by Christian Siriano as he takes us on a sultry getaway for SS 2019. Though the weather may be getting colder, this designer turned up the heat Saturday at his show in New York’s Gotham Hall, choosing to break away from the Spring Studios venue that is the headquarters for this season’s shows. Sitting front row for this island escape included Tiffany Haddish, Sarah Hyland, Whoopi Goldberg, and one of fashions most beloved best friends, Cynthia Nixon. Nixon is current running for governor of New York and Siriano made his support known with a piece in the collection reading “Vote for Cynthia” in a simple print on a solid shirt.

  

(photo credit to aol.com)

The designer said he found inspiration for his playful collection in chic island life aesthetics; he wanted the designs to be fun, colorful, and romantic, while still being visually powerful and exciting. He was truly influenced by the perfect dream Hawaiian vacation and he emulated it wonderfully with refinement and elegance. The collection begins with an assortment of colors and animal prints in daring silhouettes, while slowly incorporating tropical florals and vibrant neon’s. Siriano paid no mind to the fashion world norms as he had models of all skin and body types walking in his pieces, giving us a chance to see how the designs work beautifully on everyone. It was hard to pick only a few favorites from such a gorgeous collection, but we managed to choose five looks we feel really allowed his island inspiration to shine through. What do you think—tropical bliss or huge miss?

 

(photo credits to aol.com)

Remember to keep checking in on the blog as we will continue to spotlight our favorite Fashion Week shows and designers! To watch the magic happen on the runway in real time, head over to http://nyfw.com/live to view NYFW’s personal livestream!

Fashion’s Favorite Week Returns

By Paige McKirahan

Hello fashionistas! As you may know (or we would hope so, anyway), New York Fashion Week has finally returned to give us an inside look at this upcoming spring and summer’s hottest trends. Beginning on September 5^th, these seven days of glamour attract buyers, press, and pop culture phenomena to the streets of New York with the goal of celebrating designers in prestige and style. 

NYFW, which began in 1943, was created by Eleanor Lambert, a press director for the New York Dress Institute. At this time, you wouldn’t see your favorite actress or singer in the front row; what was formerly known as “Press Week” was truly only open to the press, with no buyers or industry figures permitted. She created the event to pull the public’s attention away from the fact that they were unable to travel to Paris to view shows during the second World War and hopefully shift focus to American designs. The event saw huge success and lead to publications like Vogue being more open to discussions of American creations more than ever before.

 

Eleanor Lambert at the first NYFW

(photo credits to guestofaguest.com)

In the mid 1950s, the name of the event was changed to “The Press Week of New York” and shows were held all over the city in venues of the designer’s choice. After that method proved to be disastrous (i.e. Michael Kors model’s getting hit with falling pieces of ceiling. Ouch!), the head of the Council of Fashion Designers of America, Fern Mallis, moved all of the shows into white tents in Bryant Park. After that change in 1993, the name of NYFW was changed to “7^th on 6^th” after the event company that was founded by CFDA. 8 years later, IMG bought the event and officially renamed it New York Fashion Week. Mercedes-Benz, the current sponsor of the shows, has been supporting the Week since 2007, and the event grew so large that white tents in Bryant Park could no longer accommodate all of the insiders dying to gain access to these shows. The event was then held in Lincoln Center until 2014, then the skylights at Moynihan Station and Clarkson Square up until its arrival at the current venue.

Bryant Park during Fashion Week c. 1998

(Image credit to nytimes.com)

This year, the shows are being held in galleries at Spring Studios on Varick Street and many designers choose to utilize this space. In contrast, many also choose to have their events at more original venues outside of the IMG umbrella, like the John Elliot Co. show that could be seen at Pier 62 Skate park. Though Elliot put on a fabulous display, we were looking to spotlight a designer that is the true epitome of fabulousness: Jeremy Scott. 

Scott’s SS ’19 show was a playful look back at Jeremy in his early teens; the designer reminisced to his star studded audience about the fact that he most literally does not throw anything away and hasn’t since he was around 13 years old. He recalled that at that age, he once threw away a shirt he though he didn’t like anymore, regretting it only days later. That anguish prompted him to keep everything from that point on, creating a personal collection and style that was beautifully emulated in this NYFW display.

For this show, the designer ultimately looked inward for inspiration; as his own muse, he reflected on all the years that he was designing his own clothing and looks with no one to practice them on but himself. Polaroid’s of an adolescent Scott adorned pieces in the collection along with sequins, crystals, and 3D embroideries reading “RIOT”, “PEACE”,”SEX”, and “SHOCK”. His classic 1990s aesthetics were refined on an entirely new level than his previous work; his polishing in the leather and sport mesh pieces is sophisticated despite their youthful inspiration. Though he makes overt political statements with his weird and in-your-face style, it has a sense of refinement that allows his influence to truly shine through.

 

Here are some of our favorite looks from the show. What do you think—fab or drab?

 

 Spring 2019 Ready to Wear Jeremy Scott 

(Photo credits to vogue.com)

Take a note from Jeremy and be unapologetically yourself in the most brazen, emphatic way. Who better to be a muse for your creative expression than yourself?

Be sure to keep an eye on our blog over the next week as we will be spotlighting our other favorite Fashion Week shows and designers! To watch the magic happen on the runway in real time, head over to http://nyfw.com/live to view NYFW’s personal livestream!

Elsa Schiaparelli was an Italian fashion designer who, along with her rival Coco Chanel, is regarded as one of the most prominent figures in fashion between the two World Wars.

Schiaparelli was born in 1890 and raised in Rome, Italy. The cultural background and erudition of her family members served to ignite the imaginative faculties of Schiaparelli’s impressionable childhood years. She became enraptured with the lore of ancient cultures and religious rites. The content of her writing alarmed the conservative sensibilities of her parents, so they sought to tame her fantasy life by sending her to a convent boarding school in Switzerland. Once within the school’s confines, Schiaparelli rebelled against its strict authority by going on a hunger strike, leaving her parents no alternative but to bring her home again.

Schiaparelli was dissatisfied by a lifestyle that was refined, but ultimately cloistered and unfulfilling. Her craving for an exploration of the wider world led her to try to remedy this and when a friend offered her a post caring for orphaned children in an English country house, she saw her opportunity to leave. The placement, however, proved uncongenial to Schiaparelli. She subsequently planned a return to the stop-over city of Paris rather than admit defeat by returning to Rome and her family.

She married a charlatan, whom she got engaged after one day of dating. They moved to NY in 1916 and their lives were followed by FBI and others suspicious of his career credits along and spy actions during war times. Soon after Schiaparelli and then husband Dr. Kerlor had their daughter in 1920, he left them behind. So, in 1922, she moved back to France with her daughter "Gogo". Schiaparelli relied greatly on the emotional support offered her by her close friend Gabrielle 'Gaby' Buffet-Picabia, the wife of Dada/Surrealist artist Francis Picabia.

Schiaparelli’s design career was influenced by couturier Paul Poiret, who was renowned for jettisoning corseted, over-long dresses and promoting styles that enabled freedom of movement for the modern, elegant and sophisticated woman. In later life, Schiaparelli referred to Poiret as "a generous mentor, dear friend."

Schiaparelli had no training in the technical skills of pattern making and clothing construction. Her method of approach relied on both impulse of the moment and the serendipitous inspiration as the work progressed. She draped fabric directly on the body, sometimes using herself as the model. This technique followed the lead of Poiret who too had created garments by manipulating and draping. The results appeared uncontrived and wearable.

Schiaparelli was also renowned for her unusual buttons, which could resemble candlesticks, playing card emblems, ships, crowns, crickets, or silver tambourines. Many of these fastenings were designed by Jean Clement and Roger Jean-Pierre, who also created jewellery for her. In 1936, Schiaparelli was one of the first people to recognise the potential of Jean Schlumberger, who she originally employed as a designer of buttons.

Schiaparelli's output also included distinctive costume jewellery in a wide range of novelty designs. One of her most directly Surrealist designs was a 1938 Rhodoid (a newly developed clear plastic) necklace studded with coloured metallic insects by Clément, giving the illusion that the bugs were crawling directly on the wearer's skin. During the 1930s, her jewellery designs were mostly produced by Schlumberger, Clemént and Jean-Pierre. 

Schlumberger's jewellery, with its inventive combinations of precious and semi-precious stones proved successful, prompted him to launch his jewellery business in New York at the end of the '30s. Schiaparelli also offered brooches by Alberto Giacometti, fur-lined metal cuffs by Méret Oppenheim, and pieces by Max Boinet, Lina Barrette, and the writer Elsa Triolet. Compared to her unusual couture 1930s pieces, 1940s and 1950s Schiaparelli jewellery tended to be more abstract or floral-themed.

 Schiaparelli also designed the wardrobe for several films, including Moulin Rouge in which Gabor played Jane Avril. She famously dressed Mae West for Every Day's a Holiday (1937) using a mannequin based on West's measurements, which inspired the torso bottle for Shocking perfume. 

Schiaparelli's fanciful imaginative powers coupled with involvement in the Dada/Surrealist art movements directed her into new creative territory. Her instinctive sensibilities soon came to distinguish her creations from her chief rival Coco Chanel, who referred to her as 'that Italian artist who makes clothes'. Schiaparelli collaborated with a number of contemporary artists, most famously with Salvador Dalí to develop a number of her most notable designs. 

The House of Schiaparelli was first opened in the 1930s at 21 Place Vendôme, but was shut down on 13 December 1954. The failure of her business meant that Schiaparelli's name is not as well remembered as that of her great rival Chanel. But in 1934, Time placed Chanel in the second division of fashion, whereas Schiaparelli was one of "a handful of houses now at or near the peak of their power as arbiters of the ultra-modern haute couture....Madder and more original than most of her contemporaries, Mme Schiaparelli is the one to whom the word "genius" is applied most often". Schiaparelli relied on inspiration rather than craftsmanship and, "it was not long before every little dress factory in Manhattan had copied them and from New York's 3rd Avenue to San Francisco's Howard Street millions of shop girls who had never heard of Schiaparelli were proudly wearing her models".